Fanlingo

Review: Dollhouse, Season 1

2009-07-16T18:43:00.005-04:00

Above: Tamoh Penikett (left) and Eliza Dushku (right) with series creator Joss Whedon (center)

WARNING: Mild spoilers for Season 1

It's a real shame that Dollhouse starts off the way it does for a show whose concepts and characters become so engaging. If one decides to judge Dollhouse on its first three or four episodes, he or she is missing out on something really unique and wonderful. That said, the beginning of the season is godawful.

The premise is as follows: Caroline (Eliza Dushku) signs her life over to the Dollhouse, where she becomes Echo, a "doll," who has no personality. Echo is among other dolls whose bodies are used as empty containers for programmed "characters." The first episodes revolve around her Alias-like missions, where Echo is inhabited by a personality and carries out tasks for Dollhouse clients. Meanwhile, agent Paul Ballard (Tahmoh Penikett) is working to expose and bring down the Dollhouse, much to the distaste of his fellow FBI colleagues.

The pilot episode is jarring--Topher Brink, Adelle DeWitt, Boyd Langton and the rest of the Dollhouse crew are shoved into your face as if you should already know who they are, what they are doing, and what the hell is going on, without even so much as a "hello, my name is." The first episode offered no chance to get particularly attached to characters or concepts; Dollhouse instead relies on the audience's continued viewership to even begin to make those connections.

Let me take this moment to say, Mr. Whedon, please learn to write a pilot episode. I understand that Fox played with your original pilot, but there could have been much more graceful ways to handle the first glimpse of the Dollhouse universe. Firefly was similarly confusing and disconcerting, and TV needs to make sense before viewers can all jump on for the ride.

The show's production values are very 90's, and watching the opening sequence with accompanying vocals is almost embarrassing. The untenable cheesiness of the entire setup does nothing to make the pilot easier to swallow, and stands out like a sore thumb amidst more "mature" sci-fi such as Fringe, Battlestar, Lost or even Firefly.

Above: Fran Kranz plays the Dollhouse's spastic genius, Topher Brink, to comedic perfection

After a rough start, things slowly fall into place on Dollhouse. The first character we really begin to love is Boyd, whose loyalty to Echo proves to be an emotional focal point for the show. Next comes an affection for Fran Kranz's resident Dollhouse genius, Topher, whose arrested development and lack of vocal filter offer comic relief in what could be an otherwise overbearing show. Tahmoh Penikett's intensity as Paul Ballard is both sexy and well-acted, and Miracle Laurie's everygirl Mellie is beautiful and relatable.

Unfortunately, the largest blight on the cast is lead actress Eliza Dushku, who is unaided the writer's inability to make her "erased"-self Caroline a likeable figure. When we get to know Caroline about 7 episodes in, she turns out to be an obnoxiously moral animal activist, making me not-so-secretly hope that Echo stays Echo for the remainder of the series. I also find Dushku's acting to be bland, literal, and often falling on the wrong side of "cornball." Much like Echo herself, Dushku proves to be the empty shell around which the [far more interesting] supporting cast develops.

It takes more than half of the 12-episode season for the show to get truly compelling. Character background for the likes of Adelle and Dr. Saunders fleshes out the cast, and the dolls start to have minds of their own. An episode where characters become "high" off an air-borne virus provides one of the most entertaining hours of television I've ever seen. Meanwhile, double agents and "sleeper dolls" make for some great twists and "WHAT?" moments, and when Alpha shows up, shit hits the fan.

Alpha, in particular, was an especially inspired casting choice (I won't spoil who), and he alone could have made the end of the season unforgetable. Fortunately, it got even better. The legitimate philosophical exploration, the introduction of Whiskey, the depature of November and the changes for Ballard left me reeling with TV nerd glee. The finale was exceptional, if not jaw-dropping, and makes me wish I could get my other friends to watch past the first episodes.

At some point during the finale, I realized why this show is great. It's because as the season progresses, you, the viewer, unknowingly become a collaborator with the Dollhouse. You have an affection for the dolls. You have an affection for the dolls' "creators." You know the Dollhouse is morally wrong, but you don't want to see any one of its inhabitants injured or killed, and just a little, you kind of like that it exists.

And that's just it. I kind of like that this show exists. There's a lot wrong with it, and Eliza Dusku could be swapped with any mildly attractive human being on earth, but I developed such an affection for the characters that I couldn't bear to let this one go.

Final Grade: B+

Review: Fringe Season 1 Finale, "There's More than One of Everything"

2009-07-07T23:00:00.008-04:00

Big SPOILER WARNING, folks.

For the most part, Fringe's Season 1 finale, the twentieth episode in the series, felt a lot like a "normal" episode of the sci-fi drama. However, by giving the audience a few sucker-punches to the stomach, the show delivered the dizzying plot twists fans have come to expect from J.J. Abrams.

The finale has the dream team--Olivia, Walter, and Peter--chasing down crumbling-faced Robert David Jones as he attempts to breach the gap to an alternate universe. Delightfully, we get to spend more time with The Observer, who is enigmatic as ever. The episode's pacing is slow but steady, which is tolerable, but perhaps not what one would want from a finale. Like most episodes, Walter and Olivia's FBI squad--this time, separately--are (predictably) able to put the pieces together just before calamity strikes.

Jbrams and team managed to quietly sneak in some series underpinings, perhaps aiding the audience in our continued state of suspended-disbelief. According to the finale, part of reason for show's inexplicable events is due to a breakdown in the laws of nature at "weak points" in the world's makeup. It's a nice touch, one that helps move the show beyond the premise of "it was Walter's fault." By the end of the episode, Jones' universal gap is closed, and the ending almost suggests a return to status quo. Almost.

If the Jones-hunt and AU close-call alone had been the season finale, there would have been some serious disappointment on the part of this reviewer. Thankfully, Abrams left us some far-jucier morsels to savor until September rolls around.

The real twist of the episode revolved around Walter's journey to the graveyard. In retrospect, the show has been hinting at the surprise, quite explicitly, since the second episode; however, I only put the pieces together just seconds before the big reveal. Jbrams got me good this time: the grave reveals that the Peter Bishop we thought we were following actually died at age 7. And the Peter we've come to know and love? Walter successfully stole him from an alternate universe to replace the son he lost. This really puts Walter's, "I thought you would be fatter," into a different context.

This was, in a word, brilliant. The revelation builds up a dam of impending drama. When/how will Peter find out? What in God's name does this mean for the Walter/Peter relationship? Did Peter's "abduction" have repercussions in the alternate 'verse? And most importantly, what the hell is Peter going to do when the bomb drops? The possibilities are absolutely delicious in terms of story-telling potential--let's pause and thank the heavens the show got renewed in order to play out this juicy plot twist.

There was, of course, a second major milestone reached in the season finale. Viewers (and Olivia) are finally introduced to oft-mentioned and never-seen William Bell. Perhaps half of the shock value of meeting Mr. Bell comes from his portrayal by Leonard Nimoy, a man who is a legend in his own right. Nimoy's own figure makes the reveal all the more exciting--who isn't interested in spending the next season (and beyond?) with Mr. Spock?

We discover that Bell has been absent due to the fact he is currently residing in an alternate reality (the same as Peter's? Who knows). The final scenes raise a million more questions. How and how often does Bell travel between universes? Is he a prominent figure in both? What about his AU self? At what point did Olivia enter into the other universe and when will she be crossing back? And does Liv's near-accident on the drive there mean anything?

The episode ends with one of the ballsiest reveals I've seen on television. As Olivia gazes out Bell's office window, the camera pans away, slowly revealing that Olivia and Bell are standing in none other than the Twin Towers. For a show that has arguably "played-it-safe" in terms of structure and (for the most part) plot, the final shot shows that Fringe is more than willing to push the envelope. While some might have found the AU Twin Towers offensive, I found the prospect of societal introspection and even the taste of mild scandal to be a thrilling conclusion to the season.

For the most part, I was satisfied with Fringe's first-season conclusion. Was it perfect? No. Was it the most exciting finale? Far from it. However, Fringe didn't fail to deliver on the shock and scandal, and that alone kept the episode great.

Final Grade: B+

Fanlingo's Best of Michael Jackson

2009-06-27T00:45:00.005-04:00

In memory of the King of Pop, who passed away yesterday evening, I present Fanlingo's top ten Mfavorite Michael Jackson tunes.

10. "Leave Me Alone," from Bad

Leave me alone, just stop doggin' me around.

One of Jackson's admittedly less-celebrated singles, "Leave Me Alone" explores the trails of fame and a life in the spotlight. Jackson's biting vocals still send chills down this fan's back.

9. "Black or White," from Dangerous

Don't tell me you agree with me when I saw you kicking dirt in my eye. If you're thinking about being my baby, it don't matter if you're black or white.

"Black or White"--both song and music video--treads between awesome and ridiculous. Sure, the rap breakdown is a bit kooky. Okay, maybe we didn't really need Macauley Culkin and George Went. But the message of equality, the crazy shape-shifting moments at the end of the vid, and catchy verses all keep this tune one of Fanlingo's favorites.

8. "Beat It," from Thriller

The fire's in their eyes and their words are really clear, so beat it--just beat it.

Who can forget one of Jackson's most iconic songs and music videos? The jacket. The knife fight. The guitar solo. The song has been pegged as a landmark in black rock--and good luck getting it out of your head.

7. "Wanna Be Startin' Somethin," from Thriller

Too high to get over, too low to get under. You're stuck in the middle, the pain is thunder.

Who can forget the chant, "Mama-se, mama-sa, mama-coo-sa?" The song is simple, but it sticks. "Wanna Be" can't stop showing up in all the right places.

6. "The Way You Make Me Feel," from Bad

Ain't nobody's buisness, ain't nobody's business but mine and my baby's.

The song is sexy, catchy, and way too much fun to yell at the top of your lung's. Michael's pursuit of the gorgeous Tatiana Thumbtzen in the 1987 video was humorous, sexy, and victorious all at once.

5. "Don't Stop til You Get Enough," from Off the Wall

Keep on with the force--don't stop 'til you get enough.

The classic seventies hit keeps the groove going with Michael's sultry vocals and the video's bubble fetish. Nothing makes you want to break it down quite like watching afro'd Mike move it in front of psychedelic pastels and soap suds.

4. "Scream," from HIStory

You try to cope with every lie they scrutinize. Somebody please have mercy, cause I just can't take it.

"Scream," Jackson's lead single from his HIStory campaign--a campaign which successfully introduced a whole new generation to MJ--was the angriest thing to come from the star since "Leave Me Alone." Paired with sister Janet, Michael's jam continues to kick ass and make it all better when you're having a bad day.

3. "Smooth Criminal," from Bad

Annie are you okay? Annie are you okay, are you okay Annie?

"Smooth Criminal," the centerpiece of Jackson's short film, Moonwalker, evokes images of the 1930's and the dance move that can only be described as "the lean." A horribly underrated but unforgettable song, Fanlingo ranks "Criminal" at number 3.

2. "Thriller," from Thriller

You hear the creature creeping up behind--you're out of time. Cause this is thriller, thriller night.

"Thriller"--does it need an introduction? The song has earned its spot in pop culture history--and history in general--time and time again. The song's guest "soliloquy" by Vincent Price sends shivers down the spine. And the music video--oh God, the music video. The plot, the choreography, the actual scariness of the situation... history has yet to offer the small screen music scene anything more imaginative or culturally provoking than Michael Jackson's 80's hit.

1. "Billie Jean," from Thriller

She said I am the one who will dance on the floor in the round.

The epitome of Michael Jackson hits, "Billie Jean" is what propelled the talented young man to King of Pop. The song is unbearably catchy--the bass line is unmistakeable, the lyrics are delicious, and the entire thing is, dare I say it, sexy. Here's to every kid who has tried to stand on their toes and hoped that one day, the ground would light up when they walk on it, too.

Miss you, Michael. Thank you.

Conan keeps irreverence alive on "Tonight"

2009-06-23T18:22:00.006-04:00

When it was announced that Conan O'Brien would be moving from Late Night to the Tonight Show, I was concerned. Concerned not, like many, about what he would do to the Tonight Show, but rather, what the 11:30 status would do to him. In the interim between the announcement and Conan's actual ascension into the Tonight Show spot, friends and I lamented the possibility of O'Brien becoming a Leno-bot.

For the first few weeks, Conan was quite obviously himself and decidedly NOT Leno part deux (string dance, "keep cool my babies," The Year 3000 and Twitter Tracker, all topped with Conan's general irreverant adlibbing). However, much of the writing, especially during the monologue, seemed keyed-down.

And then, my God, came the Friday, June 19th show.

Conan opened with a few tame but enjoyable jokes about the Clippers, Joe Biden, the Clintons and marijuana. He amped it up with gags about the exploitation of Chinese women and a blind and deaf "explorer." And then, with the statement, "I'm going to do this one anyway," came the return of O'Brien to the brink of "inappropriate:"

"In Montreal, firemen had to rescue the customers when a fire broke out in a sex club. A fire department spokesman said this was an especially dangerous fire considering there was so much wood in the room."

The joke caused Conan to momentarily retire off-screen in victory; he was rewarded/punished with a chant of "Coco" from the crowd. He followed with another off-color bit:

"I gotta mention this--in a new tell-all book, O.J. Simpson's most recent ex-girlfriend says that Simpson once pushed her out of a car late at night twelve miles from their destination. The girlfriend said, that's when I realized he didn't love me enough to kill me."

After which, he proclaimed, "That's how Coco rolls."

Quite.

The irreverence of the monologue carried right into Triumph's return to late night TV. The bit, which took Triumph to the Bonnaroo festival, was hilariously offensive and every bit as insulting as advertised. Favorite moments include harrassing a (likely) meth junkie, his confrontations with TV on the Radio and the Beastie Boys, and the voice actor's frequent inability to keep it together while completing his biting comments.

And there you have it, uninitiated Conan fans: that IS how Coco rolls. I'm glad to see a return to form for the 6'4 funnyman. Hopefully, this signals the end of his Leno impersonations and the subsequent rise of the Cone Zone at 11:30.

"Fringe:" an "Alias" addict's next stop on the Jbrams train

2009-06-19T01:42:00.006-04:00

I will admit it: I'm a bit of a J. J. Abrams whore.

It started back in 2001, when I caught Alias about seven episodes in. After episode 12 ("The Box pt. I") it was all over--I was severely addicted until the show collapsed on itself in Season 3.

I've followed Jbrams since--to Lost, Cloverfield, and of course, the new Star Trek (though nothing has yet prompted me to watch Felicity). I even took up Jbrams' love of The Office (the UK version, kids), allowing me to fully appreciate the absurdity of Ricky Gervais' appearance on Alias.

So Fringe was certainly high on my list of things to get around to this summer. And the more I watch (I'm halfway through the first season), the more the addiction bubbles. And the more the addiction bubbles, the more I begin to realize: holy shit, this reminds me of Alias.

The new Fox series is literally just begging Alias fans to jump on board for the ride. Let me paint the picture: conspiracy theories. Family drama. Family secrets. Missions with guns blazing (no wigs yet). A strong female lead with emotional drive who isn't afraid to bend rules. Sound familiar? Let me put it this way: I'm counting "47"'s again--because there are more than a few--something any fan of Sydney Bristow will pick up on within a few episodes.

Of course, there are differences--differences that have helped me get attached to Fringe for its own distinct goodness. Whereas Alias's plot went forward guns-a-blazin', with non-stop mythological references and weekly cliffhangers, Fringe consolidates the mystery into highly episodic portions. It's House meets The X-Files. In some ways, this can be viewed as a "lesson learned" decision--where Alias ran out of steam after two seasons, Fringe aims to maintain longevity. While this might not be everyone's cup of tea, I find the mythology/victim-of-the-week combo to be well-done and satisfying.

The heart of Fringe truly lies in the development of its characters. The second the show went from "good" to "great" for me was when Olivia turned from being "whiney" to "emotionally relatable," Peter turned from "smartass" to "playfully charming," and Walter went from "annoying crazy old guy" to "endearing." While there was plenty of character development in Alias, Fringe is even more successful in delving into character reactions and emotional consequences, as opposed to glossing over them for plot/time purposes. Ultimately, I look forward to the next episode because these three characters are in them. And in that sense, I think Fringe is an absolute triumph.

So if you're a former Alias junkie or a Jbrams whore and you aren't watching this show: shame on you. You pick up these DVDs. You watch. And then you thank Fox for giving Mr. Abrams another show--my God, does he deserve it.

"Up" and "BSG"--making age (and death) romantic

2009-06-15T20:39:00.005-04:00

SPOILER ALERT: Battlestar and Up spoilers ahead.

When I went in to see Pixar's Up yesterday, I basically knew nothing about the plot except what the trailers had revealed. So when the Carl/Ellie romance started blossoming, I was surprised, pleasantly--and then those Disney bitches tore my heart out and fed it to the snipe.

Basically: Carl wants to fulfill (now-deceased) Ellie's lifelong dream of adventure by moving--er, floating their house to the top of Paradise Falls in South America. Carl's dedication to his deceased wife is touching, putting the heart into an otherwise ridiculous concept. I was surprised how much I related to the old man.

Any yet, I shouldn't have been.

The Battlestar Galactica finale, which aired on March 20th, saw the close of one of my most-loved romances of all time: that of Admiral William Adama (Edward James Olmos) and President Laura Roslin (Mary McDonnell). The relationship developed over the course of the four-season, six-year series, ending with Roslin's death during the finale.

Amusingly, Adama proceeds on his own mission to fulfill Laura's "adventure--" building her the cabin by a stream she had always dreamed of. Maybe he and Carl can be neighbors.

What makes mature romances work? Is it more "grown-up?" Is it some perverse fascination with seeing your mom and dad make out? Is it because Mary McDonnell is a total fox? Or is it because we all like to think we can find love--no matter what our age or circumstance?

I doubt the Grandma/Grandpa love will get too mainstream anytime soon. Still, I found the parallels between Up and BSG fascinating, and the fact that these characters and their love can exist in an age obsessed with youth--well, that's just profound.

Fanlingo: GQMF

2009-06-14T21:29:00.007-04:00

As seen above, this recent bit of fanlingo has spread rapidly and has become overused to the point of mass confusion. Allow me to present to you:

The phrase GQ motherfucker was popularized by none other than the Star Trek XI fandom (read: the movie, not the old shows, you loser), specifically at the LiveJournal community ONTD_startrek. Due to the obscene amount of man meat roaming the halls of the Starship Enterprise, the film became an inevitable fangirl magnet. And like all good fangirl fandoms, man-worship soon commenced.

Mr. Zachary Quinto (a.k.a. "ZQ") was the first true object of GQMFization. Having appeared in the actual magazine multiple times, it was only fitting to give the man-vulcan the moniker. However, fangirls were certainly not intent to let a good phrase die quietly.

Chris "Captain Fine" Pine, Karl Urban, and even Mr. J.J. Abrams himself have subsequently been appointed the not-that-exclusive title. Really, no one in the cast, or in any fandom with vag-having fans/penis-having famed-people, is truly safe from being branded.

So, to those GQMFs out there, try to watch out for those ugly hats. And to my fellow Star Trek fans--thanks for the lingo.

"Fringe:" OH, HAI.

2009-06-13T15:09:00.004-04:00

When Fringe premiered, I tuned in for the first two episodes--A, because it was kinda like the X-Files, and B, because I've loved everything J. J. Abrams has ever crapped out and served to a national audience (edit: post-Felicity). I vaguely remember enjoying the show until I became swamped by the real world, having to swipe it from my TV schedule.

So imagine how pleasantly surprised I was when I rewatched the pilot yesterday.

The pilot was pretty delicious. Okay, so maybe it was no Alias or Lost, but it whetted my appetite, immediately leading me to indulge in the second episode.

This left me with questions. Why does this show work? It's a formulaic cousin to about ten other sci-fi shows, the lead is a nobody actress (although I find Torv's work so far to be subtle and well-played), the romantic pairings seem inevitable and predictable, and 1/3 of the main cast is not young/attractive and plays a crazy SOB. On paper, this sounds like a disaster. But somehow, Jbrams works his magic, adds in a conspiracy and amazing character dynamics, and it becomes a golden child of the 2008 TV season.

I'm interested to see how this fandom operates. Is it the underground cult of Alias? Is it the watercooler discussion-fest of Lost or House? Or is it the gushing insanity that is Star Trek?

Until then, I will be enjoying Peter Bishop's witticisms and Olivia Dunham's beautiful, makeuped-yet-freckled face (how is she so gorgeous?).

Virtuality? Pretty please?

2009-06-11T23:58:00.002-04:00

Fox, you lose the points you gained with Glee with your [poor] treatment of Ronald D. Moore's newest creation, Virtuality.

Okay, granted, it's nice that you're airing even one episode. And that you changed it back a week from July 4th to June 26th. However... c'mon. A season? Half? A second episode? Anything?

Are they that worried about the show? Is it the mildly complex story (read: IT'S COMPLICATED)? Or the lack of big-name pretties? Or maybe they haven't heard: Space is IN. Look at Jbram's Star Trek. Look at ABC's V. Or perhaps take into account the hoard of Battlestar Galactica fans left showless and wandering aimlessly.

Virtuality throws out some provocative ideas... ideas that proooobably won't be resolved (unless DVDs do miracles). The show takes place in, well, space--the driving concepts are a malfunctioning virtual reality system and the fact that all crew are taking part in a reality TV show. If that makes no sense, perhaps Moore can sell it better:

"[Virtuality] is really a show about reality, identity. It's a show about trust, on a basic level. Here's a group of astronauts on a long term mission, suddenly trapped in a sense, facing unexpected dangers on the ship – in the virtual world, among themselves and a lot of questions of 'Who do you trust?' and 'Is any of this real?'"

I'm intrigued. A bit confused. I'm also a BSG nerd. And, most importantly, I'm going to watch. I wish Fox would grow some balls, couple this baby with Fringe, and get this thing off the ground.

Get Glee

2009-06-11T21:42:00.005-04:00

Watch in awe as Fox makes intelligent decisions in terms of its television programming!

Glee: A quality comedy that lacks A-list stars but makes up for it with heart, heart, heart.

And so far, Fox seems to be playing all the right cards. Exhibit A: A pop-song-turned-showtune-filled pilot airing right after American Idol--a delicious teaser months before the actual series begins, and all aimed at the right audience. Everything points to Glee as being one of, if not the breakout hit of the fall season.

Oh, also, it was pretty fucking awesome.

The pilot keeps the humor moderately paced--think The Office, not Arrested Development. And while the high school setting and sporadic laughs could be a formula for mindless, popcorn TV, the inserted character monologues and budding love triangles keep the show provocative and take the drama beyond "nerd vs. jock."

For most of the episode I was satisfied with simply being entertained. However, somewhere within the last ninety seconds, it all clicked. I can't be the only one who had this experience. I think it was right when Rachel & Finn belt the line, "smell of wine and cheap perfume," that I realized I fucking love this: the characters, the premise, the music. Try frowning during their rendition of "Don't Stop Believing." Try.

As a TV viewer, I'm looking forward to seeing if Glee can keep the same quality for an entire season. I'm definitely skeptical if they can continuously deliver stellar entertainment each week. Either way, this is definitely one show/fandom to keep your eyes on as fall creeps nearer. The potential is there--let's hope Fox makes the most of it.

Review: Tori Amos, "Abnormally Attracted to Sin"

2009-06-11T00:34:00.011-04:00

REVIEW: Abnormally Attracted to Sin, Tori Amos

Tori's latest studio album--her first as an independent artist--is certainly not her worst, but it is unmistakably flawed.

The eighteen-track offering would benefit from a heavy dose of thoughtful editing and cohesive production. The sound is all-over-the-place, and the theme of "sin" barely keeps the mesh together. "Fire to Your Plain" sounds stripped straight from Scarlet's Walk, while the next track, "Police Me," jumps straight into American Doll Posse territory. Sin has an identity crisis--it tries to be everything and fails.

Despite the schizo track selection, pieces such as the single "Welcome to England" and first track "Give" keep the album a far-from-lost cause. "Give" hearkens to my favorite side of Tori--the one that plays the piano like its filthy--and kicks the album off on a dark, moody tone. Meanwhile, "Welcome to England" is what Tori should be doing in 2009. The song explores a forward-focused play on production, lyrics, and Tori's unmistakable piano.

I will give the woman credit for her ballsiness. She took the opportunity to take chances--just not all of them worked out. For example, much of this album finds Tori flirting the line between pop and pop. A few pieces fall on the right side of the line--"That Guy," "Fast Horse" and "Fire to Your Plain." Others don't quite make it, as heard in "Not Dying Today" and the drab "500 Miles." And still others haunt my sleep by straddling the distinction precariously (see: "Police Me").

Tori also plays with headier, more ethereal tones throughout. Sometimes it works ("Starling," "Flavor"), sometimes it doesn't ("Abnormally Attracted to Sin"), and sometimes I'm just confused about life in general ("Lady in Blue").

Unfortunately, the songs that play it safe stay under the radar. "Curtain Call" and "Ophelia," two piano-driven tracks, seem to fade to the back of the playlist. However, "Maybe California" shows that Tori still hasn't lost her ability to make the piano/lyrics combo hit like a ton of bricks.

Basically: There are a lot of freaking songs on this album. Yeah, more than I've mentioned here. Overall, I feel satisfied knowing I can savor the choice parcels of Sin and just throw out the rest. Could it have been better? Absolutely. Now, excuse me, I'm going to go listen to "Fast Horse" again.

Grade: B